![[UT]SOT082409](http://uttaps.files.wordpress.com/2009/11/1.jpg?w=195&h=300 "[UT]SOT082409")
Read about Neil LaBute’s The Shape of Things through the eyes of Assistant Director/Dramaturg, Comfort Clinton:
“Oh! if I only could go back to my flower basket! I should be independent of…you…and all the world! Why did you take my independence from me? Why did I give it up?” This line, spoken by Eliza Doolittle in George Bernard Shaw’s 1913 play Pygmalion, later adapted into the iconic musical theatre piece My Fair Lady, is undeniably applicable to the content of The Shape of Things, Neil Labute’s 2001 drama currently being tackled by the directing talents of Toby Tieger ‘10. The piece centers on two young college students just beginning their relationship, along with with their two friends planning for a wedding. The arch of the play is built on the transformation experienced by all four characters, as they change both physically and emotionally, exploring the inherent struggle between right and wrong and learn that the interaction between these two is merely what makes us, well, human.
One way in which we have been exploring this seemingly hypocritical type of existence in our production of Labute’s work is by emphasizing the show’s clear references to the story of Genesis. Labute alludes to this tale in ways that range from embedded subtlety, to hit-you-over-the head symbolism – even going so far as to name his title characters Adam and Evelyn. This historical allusion is perhaps most clearly reflected in our production of The Shape of Things by set design choices, mostly credited to Maura Jayne DeBattista, our chief set designer. Set pieces are constantly shifting, and Evelyn is continuously redecorating the space, in an effort to evoke fantasy and to represent Adam’s dynamic and ever-evolving desire to change, to improve, and most of all, to please. Audience members are also encouraged to look out for the set piece that directly echoes the story of Eve and the forbidden fruit, and will notice that it, like most of the set, evolves constantly.
The script of The Shape of Things, peppered heavily with cultural references, and numerous Oscar Wilde quotations, serves to create a fantasy world of its own. Characters often use cultural references to express their own feelings, and to convey their individual personalities. Evelyn fondly refers to Adam as “grasshopper”, an allusion to the 80’s television masterpiece “Kung Fu”, while Adam himself liberally quotes literary greats like Dickens and Kafka. While these are not exactly pumpkins magically turning into carriages, they function to enhance the world of fantasy, while also showcasing the unique type of relationship between the characters and possibly suggesting an inability to connect in a realistic way.
We have also worked to ensure that Labute’s references, and perhaps sources of inspiration -which come in the form of both the Cinderella and the Pygmalion story- are fully honored by our production. Just as Cinderella goes from dusty hearth-tender to belle of the ball, so too does the character of Adam transform from helpless nerd to desirable heartthrob possessing “questionable” morals and unusual behavior. In order to reach this point he places himself in the hands of another, to the point where he would be likely to utter something reminiscent of Eliza Doolittle’s plea for the return of her independence. His transformation is aided, and even catalyzed, by his new girlfriend Evelyn, who, in this context, seems to occupy the role of both fairy godmother and a contemporary Henry Higgins. She shapes Adam in much the same way that Professor Higgins attempts to mold Eliza Doolittle in Pygmalion, and, in doing so, creates what is close to a world of fantasy not unlike the realm of Cinderella.
While fantasy is a priority, our set choices serve to ground the show in reality, with most staging, as well as costuming, intentionally remaining minimalist and natural-looking. This naturalism is meant to contrast with the world of fantasy created by the ever-changing set, and therefore to blur the audience’s line of distinction between these two worlds. This, perhaps, harkens back to Labute’s seeming attempts to blur the line between ‘right’ and ‘wrong’ in his efforts to confront us with our infatuation, our obsession, with, as Evelyn would say, “the surface of things, the shape of them.” While the dialogue of The Shape of Things may leave the audience wondering where that dang strawberry handkerchief got off to, or who the heck Gregor Samsa is, our production hopes the audience will leave the theatre questioning whether the age old adage that ‘art imitates life’ is in fact true or if perhaps in the grander scheme of things, art is life.
Catch the Show Nov.4-Nov.7 at 8pm in the First Floor Theater.
Read more about the process of developing a piece that weave together the stories of Jorge Luis Borges. This time through the eyes of one of the actors, Gabe Kalal:
University Theater proudly announces the opening of POWER! IDENTITY! RESISTANCE!, a harrowing week of workshop productions, featuring LITHUANIA by Rupert Brooke; THE STRONGER by August Strindberg; A BORGES PROJECT by Ofer Ravid, and SEZ SHE by Jane Martin. Each piece showcases a different format, but all engage the problem of shifting identities. On Halloween weekend, UT will delve into the ramifications of cloaked characters and ghoulish personas.
Read about the experiences of Alli Urbanik and Elle Riley-Condit working on August Strindberg’s The Stronger, Directed by Megan Geigner:
Director Ofer Ravid shares his thoughts about the process of adapting the short stories of J.L Borges for the Stage:
